From his very first collection, which came to be known as the “New Look,” Christian Dior’s impact on the world of fashion was undeniable. In fact, Dior moved at such warp speed that just under a decade after he launched his eponymous label, in 1948, he’d already named his successor: one Yves Saint Laurent, who, at age 21, embarked on his own star turn of a decade. These days, Dior is of course still going strong, and of this February, the first two decades will be the star of a new exhibition at Proud Central gallery in London, on view through April 7. Read More here

There weren’t many best friends like Elizabeth Taylor. For fashion designer, Vicky Tiel, she was a teacher, a mentor, and a fellow lover of fried chicken. “Elizabeth taught me so many things,” says Tiel, 75, who shares her stories of the screen legend (as well as those from her many celebrity clients, from Oprah to Kim Kardashian) in her new book, The Absolute Woman: It’s All About Feminine Power. Read More here

Montgomery Clift would’ve celebrated his 98th birthday on October 17, 2018. The iconic actor gave only a small number of onscreen performances before his untimely death in 1966 at the age of 45. Yet several of those titles remain classics. In honor of his birthday, let’s take a look back at 12 of his greatest films, ranked worst to best.

10. SUDDENLY, LAST SUMMER (1959)
“Suddenly, Last Summer” is the kind of lurid blending of homosexuality and cannibalism that only Tennessee Williams could conceive. Clift plays a psychiatrist summoned by the wealthy Mrs. Venable (Katharine Hepburn) to lobotomize her niece (Elizabeth Taylor), who harbors a terrible secret about the death of her cousin, Sebastian. Director Joseph L. Mankiewicz films this disturbing material as explicitly as the censors would allow,.
1. A PLACE IN THE SUN (1951)
Though it won raves from critics and snatched up 6 Academy Awards (including Best Director for George Stevens), today’s viewers often dismiss “A Place in the Sun” as pat and outdated. Yet this story of an ambitious social-climber (Clift) who marries a dowdy factory worker (Shelley Winters) and falls in love with a glamorous socialite (Elizabeth Taylor) remains a powerful and enchanting melodrama. The chemistry between its two leads — who would remain lifelong friends throughout their many ups-and-downs — is heartbreaking in its intensity.